Anyone knows what it will cost in Europe? Although I hope it, I think it wont be any cheaper than the Super Sonic.
Coolness Incarnate – Gretsch at Winter NAMM 2009!
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- Rated: 14 ↑
Jan 21, 2009 12:59 p.m. Guitarmaniac:
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- Rated: 311 ↑
Jan 21, 2009 1:35 p.m. Proteus:
I heard 1,000.00 - thought that was for head and cab.
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- Rated: 89 ↑
Jan 21, 2009 2:03 p.m. Ratrod:
Even though the Dollar is low to the Euro, musical instruments here are always more expensive. I expect to see this one on sale for 1300 Euros. About 20% standard discount off makes it around 1000 Euros.
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- Rated: 33 ↑
Jan 21, 2009 2:12 p.m. tommy59:
bobbyrivera said: Does anyone know what the street price of the Combo version (the Deluxe VM) will be?
MSRP, according to Fender New Shizzle Price List -
$1100 for Deluxe VM
$900 for Bandmaster VM head
$500 for Bandmaster VM cabinet (2 x 12" Celestion)
I know this doesn't really answer bobby's question, but most of us can probably extrapolate from the given data.
And I am assuming that these prices will not be jacked up by 30% on Feb 1, but don't know that for sure.
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- Rated: 59 ↑
Jan 21, 2009 4:41 p.m. bobbyrivera:
Ouch! I would guess around $800-850 for the street price on the VM Deluxe. My HRD is in the studio right now, so I couldn't look at the back of it. Is is exactly like the Deluxe (tube wise) with added effects or is the tube config. altered on the VM? From the looks of it, the VM has 2 6L6's, and 2 12AX7 's. I swear that my Deluxe has more tubes than that (although I can't verify that without looking at it)...I only ask, because I like the overdrive channel on my HRD (I don't use the third overdrive channel on it whick is the only difference between and HRD and a Deluxe).
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- Rated: 311 ↑
Jan 21, 2009 5:02 p.m. Proteus:
Through other eyes.
It's always interesting to see through other eyes every once in awhile. Lindsey works for TV Jones, and we hung out some at the show. She lent me her data to get some pics which will show up later...in the meantime, some of the things that caught her eye.
She's got the right smartass sense of humor, and good taste besides. (This is important, because you wouldn't want your pickups wound by a dour, tasteless, drone, would you?
Coming from sunny (not) Poulsbo, WA, of course she's amused by palm trees and blue skies.
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Yes, she's a metal-head. (And despite claiming interest in a wide range of music, I know she listens to head-banging shredwank. But she's young yet and will grow out of it.) Not that Trussarts are guitars for metal. Nosir, they're guitars OF metal, and what's not to like?
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Only natural that she should notice her handiwork in situ.
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Plumbing.
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Hoops.
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Shells.
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What soul? What machine? This looks interesting, but we need more info.
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OK, but not about this.
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- Rated: 46 ↑
Jan 21, 2009 10:04 p.m. Nobody:
Plumbing.
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- Rated: 89 ↑
Jan 22, 2009 8:22 p.m. Ric12string:
I must confess that those Trussant guitars did not appeal to me in the slightest. The backs had that same screen appearance as the front. I just don't get the purpose of that kind of guitar. It looks more like something that emerged from a metal shop class rather than a master luthier's shop.
I stopped for a few minutes at that booth and then didn't even notice it after that. Not my cup of tea at all. I like seeing fine craftsmanship in wood.
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- Rated: 25 ↑
Jan 22, 2009 8:27 p.m. XRAYCAT:
Proteus said: head-banging shredwank
Nice! haha
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- Rated: 311 ↑
Jan 22, 2009 8:55 p.m. Proteus:
Well, I have this thing about metal.
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- Rated: 102 ↑
Jan 22, 2009 9:00 p.m. bonedaddy:
C'mon, I saw you longingly eye Yngwie at NAMM. Hoping he'd sweep out some blazing arpeggios.
It's ok to embrace your black leather and spike bracelet side....
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- Rated: 311 ↑
Jan 22, 2009 10:16 p.m. Proteus:
Uh huh.
Moving right along, who knows who this is? (No fair answering if you were there.)
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- Rated: 39 ↑
Jan 22, 2009 10:22 p.m. Wishinfora(nother)Falcon:
Joe Carducci
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- Rated: 43 ↑
Jan 22, 2009 10:23 p.m. Bryan K.:
Mark Hudson from the Hudson Brothers Razzle Dazzle Hour?
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- Rated: 311 ↑
Jan 22, 2009 10:26 p.m. Proteus:
Kinda looks like him...but no. More guesses?
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- Rated: 39 ↑
Jan 22, 2009 10:41 p.m. Wishinfora(nother)Falcon:
Mike Lewis
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- Rated: 311 ↑
Jan 22, 2009 10:42 p.m. Proteus:
It's Bobby Cochran, Eddie Cochran's nephew.
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- Rated: 43 ↑
Jan 22, 2009 10:46 p.m. Bryan K.:
Kinda looks like him...but no. More guesses?
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- Rated: 311 ↑
Jan 22, 2009 10:52 p.m. Proteus:
Which brings up one of the cool things about NAMM, which is that you never know who you're going to just bump into. (Sometimes literally. I all but knocked over Corey Feldman in the corridor outside the Fender rooms, where he was hanging with the homies – I think the night EVH was there for his dealer appearance.)
Cases in point: Ric12String with Will Lee, and Lindsey with Carmen Appice.
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And this is Mike Lewis...
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Other sightings, which I missed: Peter Tork hanging out in the Gretsch pavilion listening to Brophy Dale's band, and Dhani Harrison stopping by to talk with Fred (an old family friend) and Joe.
They say he looks just like his father.
Sorry I didn't get pics.
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- Rated: 39 ↑
Jan 22, 2009 11:04 p.m. Wishinfora(nother)Falcon:
Proteus said: And this is Mike Lewis...
He looks hot in that Black Dress!!
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- Rated: 311 ↑
Jan 22, 2009 11:08 p.m. Proteus:
I know he'll appreciate your saying so. He was wondering if it made his butt look big.
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- Rated: 39 ↑
Jan 22, 2009 11:20 p.m. Wishinfora(nother)Falcon:
I have vowed to never answer that question!!
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- Rated: 89 ↑
Jan 23, 2009 12:13 a.m. Ric12string:
There is definitely a resemblance. If you watched the Concert for George, produced by Eric Clapton, and see him standing there on stage playing guitar, there are times when you think you are looking at a very young George Harrison playing.
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- Rated: 58 ↑
Jan 23, 2009 8:28 a.m. JC:
That would have been great, to have had a chat with Dhani!
Pity it didn't happen eh..
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- Rated: 311 ↑
Jan 25, 2009 4:02 p.m. Proteus:
A week later and I'm still not through with NAMM...just a few more posts (and more giveaways) to wrap up coverage, and then it's all over but the memories (and the mailings).
Obligatory Behind-the-Scene Shots
Those who remember last year's coverage will recall the narrow area behind the Gretsch booth where FMIC's web guys and I worked at posting content to the web. This year that was vastly expanded to a veritable empire.
For one thing, FMIC's web presence was much expanded. In addition to the professional film-and-audio crew capturing content on the Spirit-of-Rock-n-Roll stage, that room had a dedicated sound man, a two-man crew recording to disk (probably Pro-Tools), and a small but impressively racked video studio at sidestage. (I tried to take pics, but they were too blurry to use.) The entire Spirit-of-Rock-n-Roll room, in fact, was the equivalent of a live concert broadcast facility.
Behind the stage, in a room segregated from the sales area across the hall from the main displays, a technician labored with two Mac towers and monitors, processing and editing video from the stage (and probably from other FMIC cameras).
The FMIC pavilion was surrounded on three sides by wide industrial corridors connecting with kitchens, building facilities, and probably the outside world. They were wide enough for several forktrucks to pass (and they did), and were stacked with roadcases, extra display material, and all the paraphernalia it took to put on a show the size of FMIC's NAMM effort. Off these corridors were both a breakroom for FMIC staff – and The Web Guys' home-away-from-home, The Green Room. Sounds fancy. Not so much. Think storage room with barely-painted drywall, linoleum, fluorescents, and cafeteria table and chairs and you're there.
Except add a small computer network and piles of boxes.
That's where I worked, along with the FMIC web guys I met last year, Steven Crouch, Brad Traweek, Mike McCurry, and Jeremy Smith. They were hunkered down at laptops, mostly processing video from a couple shooters' cameras, developing content, and uploading it to Fender's main site, all FMIC's brand sites, AND every division's youtube and myspace blogs. A dedicated file server handled video; rendering files took hours and kept this crew in place till hours after the show closed. (And remember, we had no internet access worthy of the name at the hotel.)
Of course there were technical problems, and the web guys felt – as I felt – that we couldn't get content up fast enough. (I'm still unburying.) Part of the "problem" is that we had all raised expectations in the past few years of what we could cover. There was a palpable commitment to covering every appearance, every announcement, every new product. Everyone also tries to cover it in the highest quality possible – which means enormous file sizes and the associated penalty in processing time. Much of that is tedium, but in this case, tedium multiplied by a sense of impending and then missed deadlines.
In the far corner of the Green Room a complete audio mixer was set up, far from the Spirit-of-Rock-n-Roll stage, in order to mix that music independently of the room mix. The contract engineer running that rig was remotely involved with sound checks for every act appearing on the SoRnR stage, and then mixed at pretty stout studio volume during every set. Consider that there were four-to-five performances a day on that stage, each at something like AustinCityLimits production qualilty.
It was rarely quiet in The Green Room.
In addition to all THAT, on the other side of a thin black curtain from my end of The Green Room was the artists' lounge, where FMIC acts whiled away time before and after their gigs. Which will bring me to the next installment, Lessons of the Green Room, coming soon to a GDP thread near you.
But for the moment, just a salute to the team of 15-20 hard-working, full-time cameramen, engineers, technicians, and music-loving computer geeks who brought FMIC's NAMM show, almost as it happened, to desktops around the world. It was an extraordinary effort.
The corridors.
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Into The Green Room.
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The Web Team.
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The Artist Lounge, sans artists.
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Mixing it up in The Green Room. (I would have got a picture of the engineer who drove this rig, but he seemed unhappy with our very presence, and convinced of the superior importance of his job to all others, so I thought better of it.)
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Proof that I worked. (Or at least posed as if.)
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That NAMM Glaze. Here Steven Crouch wears the look we all had by the end of the show. From L-R, Steven, Brad Traweek, Mike McCurry, and Jeremy Smith. These guys have handled lots of data you've all watched. Better thank them.
